La narrativa escénica popular en el gesto melódico de Punto y Tonadas de Carlos Fariñas (1934 - 2002)
ISSN: 2014-4660
Year of publication: 2021
Issue Title: Creación y recepción de la escena popular. Relaciones transatlánticas en el siglo XX
Volume: 16
Issue: 2
Pages: 89-107
Type: Article
More publications in: Etno: Cuadernos de Etnomusicología
Abstract
Taking the behavior of the alternation between cantabile and instrumental parts typical of the Cuban punto campesino and starting from the tripartition of Molino and Nattiez, it is suggested to apply the concept of musical gesture in Punto y Tonadas (1980-1981) by Carlos Fariñas, for string orchestra, as a trace subscribed in the sonorous matter that works from the writing. In the work, the concept is approached only from the properties of the text derived by the composer and, also, it is studied in the context of what López Cano considers as musical narrativity. Continuing with Byron Almén's postulates, the two semantic units used by Fariñas in his structure are determined and the interactions that occur between them to achieve unity in the contrast and differentiation of the sections are followed. Likewise, the essential formants that intervene in the composer's experiences are considered, in order to demonstrate the way in which Fariñas in his work treated with new formulas the alternation coming from the Cuban music of peasant origin.